Your Drawing Product

Get Paid To Draw

By Katherin Stewart on Mon, 30 Oct 2017

This online services gives you what you want without having to make a complicated and difficult career out of it: we give you a platform to get PAID for drawing. It is as simple as drawing what you want, scanning it into our system, and reaping the benefits of people who will pay for your art! And who told you that you can't make any money from art? All you need to know is how to draw and how to use email If you have those two basic skills you can make as much money as you want; it all depends on how much you draw! And you don't even have to be the best artist out there; all it takes is a bit of a skill and that want to make money from your art, and you are on your way to making that side money!

Get Paid To Draw Overview

STUDENT ACTIVITY Look up some paint manufacturers or go to your art supplier and find answers to these questions. Name three oils that can be used in oil paint manufacture. What is stand oil How is sundried oil made Name a non-drying oil. What is a varnish What is a resin What is a medium Which is the most transparent white of those commercially available today What medium is used for acrylic paints

As used in advertising, art is a selling device. Its primary function is to interpret with pictures what cannot be said with words alone, and the advertiser's decision to use your pictorial contribution to his advertising effort depends upon how well your art work accomplishes the following results The decision to use your art work is based on the hard fact that your pictures must achieve one or all of these results. From the very start you, as a commercial artist, must become aware of who buys art work and why. You should learn what it takes to meet the art requirements of many businesses in selling their products. You must always remember that an advertiser does not buy art work to frame and hang on his walls he buys it to assist him in selling his product and services to the public.

Just decide where your bands of light and shade are going to flow and place your forms. Alternatively you can make your drawing of the forms then apply the light - or like me use a little of both and if something doesn't work keep experimenting. Don't change the color just alter the values

With a wash drawing, you have a means of creating a photographic effect plus an assurance of better reproduction than can be obtained from a photograph. The line and wash drawing, however, also produces the realism of a photograph plus the expectation of greater definition when reproduced on newspaper stock. In using any of the techniques, you must know how to prepare your drawing and you must learn to do this without sacrificing your style. It is important for you to know whether your drawing will be printed on coated magazine paper or newspaper stock because coated stock has a hard finish surface and the printed impression will be sharper. Closely drawn lines will not have a tendency to run together and the whites between the lines will thus be maintained. Newspaper stock, 011 the other hand, has a soft, pulpy surface, so there is a tendency for closely drawn lines to spread when printed, destroying the whites separating the lines and causing a smudge. When making line drawings for...

Always keep in mind that, although your fashion illustrations may be highly creative and individual, the intention of the artwork is to convey a garment or outfit. The representation of the fabric from which the clothing is constructed must play a significant role in your artwork. Plan your drawings with faint pencil lines before you begin to render si riped and checked fabrics. Accuracy at this stage is vital if the finished artwork is lo look professional.

Here we will examine the notion that good paintings can be made by simply copying photographs. To do this we shall return to the latter half of the last century when photography was all the rage and the great debate of the time was whether photography should confine itself to science or also develop as an art form. The perceived danger to painter's incomes was what spawned the impressionsists who believed representational art was doomed. Meanwhile it gave the academy painters something to think about -rather like the late 1980's when the champions of computer technology predicted the demise of newspapers and books. It seems they too were a little premature as trees seem in more danger now than then. There is little doubt that Monet,Van Gough, Renoir, Cezanne and others were artists of innovation and that the 'academy' painters such as Bouguereau and Gerome, after Ingre departed this mortal coil, were the next masters of the classic western art technique. I call such painters as...

Figures 5.3 to 5.8 show a fleshed out body line over the oval and triangle templates which are indicated as dotted lines. Your drawing does not have to be an exact copy of mine - your personal style will be developing as you work through the exercises. All measurements and shapes are guidelines - they do not have to be strictly adhered to. Adjust your drawing as many times as necessary move the paper up, down, sideways and correct lines, improve the shapes (slim down the figure, reshape muscles), retrace until you have a fleshed out line drawing that you are happy with. At this stage you may decide you wish to elongate your fashion figure to ten heads or more by adding length to the legs.

American painter George Bellows (1882-1925) once stated, The artist is the person who makes life more interesting or beautiful, more understandable or mysterious, or probably, in the best sense, more wonderful. This is a tall order for the artist. With such expectations you are not alone if you feel daunted by the prospect of creating artwork, and not the only one who finds it hard to know where to begin. To help you to discover a starting point, this chapter reveals how to find inspiration, how to make visual use of the world around you and how to apply your observations in creating innovative fashion illustrations, designs and artwork. Keep up to date with the news and world events, television and film releases. Monitor changes and behavioural shifts in big cities around the world, watching for new trends in cities such as New York, London, Tokyo, Paris and Copenhagen. For example, how might you apply the trend for knitting caftfs in New York or permanent spray cosmetics (whereby...

This method is used to produce an effect of half-lone without the use of a half tone pfale. Ross board is a pebble-surfaced board which comes in various degrees of density. Make the usual careful pencil drawing and Irace if down. The basic drawing is done in ink with a brush, then the graded lones are added with o lilho crayon or grease pencil. To produce The rone, stort by stroking Ihc surface of the board lightly with the croyon which, coming in contact with the lop of the pebbled finish, produces a light lone. By increasing the pressure on the crayon slightly where desired, the lone can be mode darker, and you can even make some areas dork or dense enough lo join with solid blacks. A line plale is made for reproduction because oil of the lines and dots are black, os you can see lor yourself by examining your drawing with an enlarging glass.

Friskel paper comes in nineteen by twenty-four inch sheets. It is thin, transparent and waterproof and is prepared for use by applying a smooth coat of good quality rubber cemcnl to one side, using a wide brush or pouring a thinned mixture of 50 per cent rubber cement and 50 per cent thinner from the can as Illustrated here. The untreated frisket paper is in the bottom of the troy and the excess cement is caught in another container. A prepared frisket paper is also available. It comes with the adhesive side protected by wax paper. Lay the frisket paper over your photograph or drawing to be retouched. Be careful to avoid wrinkles by smoothing it out with your hand from the center outward. Pencil lines should be very light so they will not show if transparent color is used. Cut along the lines of the area to be air brushed, using a very sharp frisket knife. Do not cut too deeply into your drawing or photograph. Remove the cut-out section of frisket and run your finger along the cut...

Through weavers such as Joseph Marie Jacquard and through the development of the sewing machine by men such as Thimonnier Barthelemy. It was also the time when the art market expanded significantly due to technical advances in the reproduction of artworks, the establishment of museums such as le Louvre (which became property of the French state in 1848), and the opening of commercial galleries by the Durand-Ruels and Bernheim-Jeune (late 1850s, early 1860s) in the French capital. Therefore, art and fashion together began to leave the confines of private spaces and made the consumption of commodities public. Paintings were no longer exclusive to collections in haute bourgeois drawing rooms, and clothing was no longer individually commissioned from the comfort of one's own home. To view art and to buy gowns one had to venture out into the public, into a commercial setting. Contrary to the social and political impetus of the bourgeois toward increased privacy, the consumption of fashion...

The production of couture adopted the idea of the independent, subjective artist and developed this stance despite the growing commercial pressure and industrialization of the industry's progress toward ready-to-wear. In the fashion industry there exists a pronounced dialectic that is expressed in the need for stylistic, some would say artistic, innovation that cannot be catered for by the manufacturing process that had given rise to couture as the basis for the fashion market established in the early twenty-first century. Designers perceive themselves as removed from the production process in auxiliary industries like weaving in a way that is similar to the painter who professes to be removed from the maker of the canvas or paper. Thus, from the birth of haute couture onward, fashion has had to accommodate the problem of relying on a design process that contradicts its procedural basis. This is the reason for the oscillating parameters of art and fashion and for the curious hovering...

Find a theme to explore and research it, using your sketchbook for experimental work and to collect inspirational material. This sketchbook page is like a mini mood board (see p. 68), showing how the theme of bad weather was Investigated through a series of magazine cut-outs and references to original artwork.

Warm colours such as reds, oranges and yellows are associated with sunlight and fire. They tend to stand out in an illustration and seem closer than cool colours, which recede into the background. Cool colours include the blues of the sky and water, and the greens of rolling hills and landscape. Bearing in mind how warm and cool colours affect the viewer enables you to enhance the atmosphere of your artwork.

The combination of sex appeal with luxury, elegance and romance are very attractive to me in fashion. The work of many of today's top designers is extremely captivating, and it influences my artwork. Fashion is one aspect of our culture that transcends the time in which it is made and also encapsulates it for us today. In lieu of fame and fortune, I have become aware of how hard-driving and disciplined today's successful artists are. In order to make it in the highly competitive and talented world of illustration, one needs to be passionate, hard-working, disciplined and persistent. Shortly before graduating, I was honoured to receive my first commission an illustration for The New Yorker. My work has been honoured with numerous awards and exhibitions at BMW (New York), Thomas Werner Gallery (New York), The Society of Illustrators, American illustration and La Samaritaine (Paris), just to name a few. I have also had the honour of working for the Walt Disney Company on a tote-bag...